Review: ELECTRICITY at INNdulge Lights Up The Night

Playwright Terry Ray's Electricity, the story of two gay men trying to figure out how they fit into each other's world, is a powerful reminder that we are worthy of being loved, even if we think we are broken. Not to mention, you'll laugh your past off.

Presented at INNdulge Palm Springs, a clothing optional hotel in the Warm Sands area, Electricity happens as soon as you enter the lobby. We've taken the wayback machine to 1983 and entered a ten-year class reunion in Chillicothe, Ohio, a town we're told "smells like a fart". We're quickly welcomed by a planted guest who tells us to check in with "Coach" where we get our name tags. Before you groan, it's not your name. You are cast as one of the characters that went to school with closeted Gary Henderson (Terry Ray) and out, loud, brash and proud Brad (Mel England) both of whom we'll meet shortly. My name tag says "Sharon" and I spot a guy whose name tag reads, "Sharon's baby daddy". I'm all in with that and make a point to read all of the name tags. That made the evening even more enjoyable throughout the 90-minute, intermission-free play. As our class reunion brochure reminds us, real life doesn't have intermissions.

The reunion has a hosted wine bar (or bottled water) and after some gossip and chit chat, Gary shows up, then Brad. There are some quick exchanges with their "old classmates" before Brad reveals he doesn't have a place to stay, and since Gary's wife was unable to join him (which he professes loudly and frequently), so why doesn't Brad stay with him? And we're off to an actual hotel room, where we eavesdrop on these two men by way of four ten-year reunions.

The name tag device is sheer brilliance. It's close quarters, but because of those name tags, we become solidly connected to the play and each other. But this isn't some murder mystery production where you interact. We are non-participating characters that Electricity weaves into Brad and Glen's world with bitchy panache, keeping us laughing as our character's stories are revealed. It brings us all closer together but never interrupts the flow of the play.

The first act is a broad comedy; the characters posture and tango their way through a sea of lies until they both reveal their authentic selves, at least who they are in 1983. And while every following decade of room reunion is still marinated in humor, the subject matter reflects the signs of the time, and the effects each decade has had on Gary and Brad show the cracks in their armor, as they allow their personal demons to surface, and finally reach a detente with themselves and each other.

Ray and England are superb as these star-crossed lovers. Ray's metamorphosis from a closeted man/boy to a full-fledged man of understanding is delicious to watch. England has less of a transition, Brad holds tight to his gay New Yorker-ness but his struggle to be a real human being and not a caricature can be seen through even as he resists change. Both actors have credits on stage, television, and film as long and as celebrated as Jason Momoa's well-chiseled body parts. Speaking of body parts, there is some nudity. Nothing gratuitous or with explicit action, mostly involving changing underwear, a subtle metaphor for where Brad and Gary are in their personal stories, as well as a cheeky nod to whatever decade we are in which is a nice touch by costume designer Michael Ray Scott.

Ray's play is solid and superbly written. It's an old story through a new lens with plot twists, revelations, self-loathing, and forgiveness but never gets preachy. It hits you strongly in the feels while always maintaining its sense of humor. It's some damn fine writing.

Director Steven Rosenberg mounted the first run of the play in Los Angeles and surely left his overall mark. The rhythm is always deep in the pocket never missing a beat. However, I am to give a big shout out to co-director Amy Rowell who adapted it for the hotel. Sure, it's actually set in a hotel so what's the big deal? It's a big deal because there wasn't one uncomfortable moment for the audience (except for the chairs, but suck it up, it's a terrific play) and the flow was spot on.

There is no lighting design, the hotel room and its practicals provide all we need. But we do have Christina Ownby's sound design that gave each of the four acts a musical anthem for its decade. Nothing like a good sound design to set the mood.

If you think a play about gay men with male nudity is not for everyone, that's probably true - don't bring your thirteen-year-old. However, I enjoyed every second and found myself completely lost in their love story. As Lin Manuel Miranda beautifully wrote:

"We live through times when hate and fear seem stronger.
We rise and fall, and light from dying embers
Remembrances that hope and love last longer.
And love is love is love is love is love is love is love is love;
Cannot be killed or swept aside."

Electricity UPCOMING PERFORMANCE DATES:
April 8 & 9, 2019 at 7:30pm
May 5 & 6, 2019 at 7:30pm
June 11 & 12, 2019 at 7:30pm
July 15 & 16, 2019 at 7:30pm

At INNdulge Inn Palm Springs

601 S. Greenfall Rd.
Palm Springs, California

For tickets: https://www.eventbrite.com/o/tmd-productions-14796182303

Website: www.electricitytheplay.com

Catch it before it heads Off-Broadway!!

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